1952 - June 24

 

Vic Dickenson Quartet – June 24 1952 

 

Eric Thacker – The Edmond Hall / James P. Johnson* / Sidney De Paris / Vic Dickenson – The Complete Edmond Hall / James P. Johnson / Sidney De Paris / Vic Dickenson Blue Note Sessions – Mosaic MR6-109 

Were it not for the fact that these delightful performances sum up and extend, within a totally personal context, all that Dickenson had given to the [Blue Note] Jazzmen sessions, it might seem decidedly odd to conclude this Mosaic set with recordings from nearly eight years after the sides by the ‘44 Johnson group. They are ostensibly in a quite different style, and yet, though Dickenson is able to stretch himself to more leisurely things, and to indulge in a little ironic suaveness from time to time, the spirit is still essentially the same. His playing glances upon several associations, and the men of his unpretentious quartet personify congenial associations too. The obvious one is Jo Jones’ long membership of the Basie orchestra. Bigg Doggett, who had turned firmly from piano to organ only about a year before this session, may have reminded Dickenson of Basie’s own forays at the manual and pedals. Also, a small coincidence is that one of the earliest of Doggett's organ recordings was as accompanist to Ella Fitzgerald in versions of SMOOTH SAILING (played by Hall's Quintet) and AIRMAIL SPECIAL, (linked with Charlie Christian). John Collins, an older campaigner than Christian, drew upon the latter's innovations and later went to consort with the modernists who had built further upon same ground.  

It is Collins who heralds TENDERLY with shiny sounds and, suiting that touch of glamor, Dickenson glides romantically with a haughtiness that turns out to be illusory as he side-steps into various kinds of trickery. Added tension is attained by a key-change at mid-point. Legato climbs into passion...but even this is self-mocked by a growling 'ventriloquial' counter-voice. Doggett makes his sound ooze and spread under this show of studied irreverence.  

John Collins, Jo Jones and Vic Dickenson
at the June 24 1952 session
Photo by Francis Wolff

GETTING SENTIMENTAL and Tommy Dorsey go together, as everybody knows. Dickenson pays wry tribute to Dorsey, adding tonal and rhythmic touches which are decidedly his own. Perhaps he slips his quotation from SWANEE RIVER in at the end to remind us that Dorsey, in his halcyon days, had recorded that as well.  

The takes of LION'S DEN (homage to an eager host) differ little. The theme has boppish twists, and there are some fairly appropriate stuttery syllables from Vic in the bridge. Collins is agile in the second chorus, and Doggett offers some Basie-like riffing. Dickenson weds terseness to agitation.  

Lastly, IN A MELLOITONE, one of those rare tunes that swing themselves. With rough, muted voice, Dickenson responds to deep, percussive grunts from Doggett who goes on to make more stabs at orchestral timbre.  

As repeated hearings do nothing to dim one's pleasure in sharing Vic Dickenson's musical joie-de-vivre, so admiration grows—and wonder too that these piquancies have been for so long neglected. Here are splendid recoveries. May limbo never again be their lot. 

Photo by Francis Wolff

Down Beat 23 March 1953 Volume 20 Issue 6 Vic’s sly trombone plays around deliciously with the Ellington tune; Bill Doggett’s organ and Johnny Collins’ guitar split a swinging chorus, and Vic takes it out beat-fully, with Jo Jones riding regally throughout. Overleaf, Vic puts his fingers to Tommy Dorsey’s nose. He adds just enough of a personal touch to the melody to make this version of the perennial TD theme distinctive without losing its beauty. (Blue Note 1601)

Tan Magazine – April 1953 GOOD: Blue Note’s Tenderly/Lion’s Den with versatile trombonist Vic Dickenson spotlighted on two stints in an all-star setting. On the pair, Bill Doggett plays Hammond organ, John Collins guitar and Jo Jones drums. Vic slides his horn through Tenderly at a slow pace but it comes off as a real exciting rendition. Den is a simple riff figure which the quartet swings on groovily. Pacing the side is Collins in a nifty solo spot but Vic and Doggett sparkle on the performance too. Vic has two solid sides in the new Blue Note release, either of which his fans should be delighted with.

Notes etc. 

Later scheduled to form part of LT-1055, opposite a Bobby Hackett session recorded for Blue Note on May 31 1945 

Bill Doggett is named “Big Dog” on the shellac releases. 

Session Information 

Vic Dickenson, trombone; Bill Doggett, organ; John Collins, guitar; Jo Jones, drums. 

WOR Studios, NYC, June 24, 1952 

 

BN444-2 tk.3, Tenderly, Blue Note 1600 

BN445-1 tk.5, (I'm) Gettin' Sentimental (Over You), Blue Note 1601 

BN446-2 tk.8, Lion's Den (alt) 

BN446-3 tk.9, Lion's Den, Blue Note 1600 

BN447-2 tk.14, In A Mellow Tone, Blue Note 1601